Words, music, and the church / Erik Routley.
| Author/creator |
Routley, Erik author. |
| Format | Book and Print |
| Publication Info | Nashville : Abingdon Press, ©1968. |
| Description | 224 pages : music ; 22 cm |
| Subject(s) |
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| Contents | Part I: Vanishing orthodoxies -- The old men. A formula from Tillich ; Three twentieth-century church pieces ; Romanticism ; Romantic music ; Pedagogy ; Pedagogic music -- The new men. A formula from C.P. Snow ; Modern music's cultural background ; Music and the new science ; What Stockhausen said ; Music and the new men -- Part II: Problems of authority -- Traditions of disobedience: five refutations of classical fundamentalism. Interpretation ; Free ornament and cadenza ; Continuo ; Romantic versus Baroque ; Textual criticism -- The defect of fundamentalism. The music-lover's orthodoxy ; The challenge of jazz ; Standards ; Ambiguous moralities ; The organist's guilty secret ; Fundamentalism -- Part III: Assault on conformity -- The urge to conform. The proud piano ; The unsociable piano ; The antisocial piano ; The lonely piano ; The antivocal piano ; The organ uneasily enthroned ; The pianists -- Alien forms of music. The insular music-lover ; More about jazz ; The case for and against jazz ; The cult of pop ; The case again pop ; Folk song -- Part IV: The dimension of drama -- Worship and the Anglicans. Worship is drama ; Audience participation ; Illustration from coventry ; Domestic or ceremonious? ; Music and this drama ; Evensong as programming -- Drama and the protestants. "Nine lessons and carols" ; Drama of the mind ; The drama of rhetoric ; The fading of drama -- The theater of faith. "Noye's fludde" ; The drama of the upper room ; Music at the eucharist -- Part V: Church music transformed -- Drama and church music. Return to the New Testament ; Misconceptions removed ; Impediments to drama ; Application to music ; The recovery of worship ; The disabilities of the artist are largely illusory ; Old music--new drama -- New music. The church in secular society ; Farewell to pedagogy ; Let music be music ; "Treason of the clerks" ; New styles ; A man dies--for what? ; "Would that all the Lord's people were artists!" |
| Abstract | Where is the organist who has not said in frustration: "How can I perform the best music for my church when I just don't have the resources?" And where is the minister who has not muttered in despair: "How can I get my congregation to learn better hymns?" In this lively discussion, based on the 1966 Stone Lectures at Princeton Theological Seminary, the author presents his view that worship within the church should be drama. To this end, he says churches should strive to ensure that the service of worship does not grow stale with so-called 'traditional" concepts. Calling for a radical change in the church"s attitude toward its music making, the author insists that church music needs to find its place within the world of music in general. He believes there should be no such thing as a "church style" of music. One of the methods he suggests for improving the drama of a service is to vary the instruments and the style of music used. Although he says "pop" and "jazz" are inappropriate, folk singing is definitely usable if treated properly. He maintains that "if the public worship as we know it cannot accommodate folk singing, then we ought to consider altering public worship so that it can." The author writes against a background of great admiration for all that is being done in America to promote good church music. But he feels that some major errors in judgment about church music have arisen from identifying such music with only one kind or type of secular music. Although he is skeptical about some of the successes currently touted, he writes as one who has high hopes for church music and a lively sense of its present dangers. |
| LCCN | 68011479 |
Available Items
| Library | Location | Call Number | Status | Item Actions | |
| Music | Closed Stacks - Ask at Circulation Desk | ML3106 .R69 1968 | ✔ Available | Place Hold |